Mostly Other People Do the Killing: Loafer's Hollow

Blowing up Mostly Other People Do the Killing from its core quartet to a septet may seem like an invitation to dance on the musical third rail. The group that has always straddled the broad and fuzzy line between tradition and chaotic improvisation, has nevertheless managed that process with a mixture of sophistication, revelation and unbridled enthusiasm. Loafer's Hollow is a surprising entry to their catalog of one-dozen releases.

MOPDtK founding member (and primary composer), bassist Moppa Elliott, saxophonist Jon Irabagon and drummer Kevin Shea were three-quarters of the original quartet along with the trumpeter Peter Evans who left after Blue (Hot Cup Records, 2014). That same recording introduced pianist Ron Stabinsky who became a regular group member with the Hot Cup release of Mauch Chunk (2015). Joining the formation for Loafer's Hollow are bass trombonist David Taylor (Gil Evans Band), Brandon Seabrook (Naftule's Dream) on banjo and electronics and Steven Bernstein (The Lounge Lizards) on trumpet.

What is unusual about Loafer's Hollow is that the original Elliott compositions are firmly rooted in the swing era of the 1930s-1940s, a more demarcated parameter than the bop/free improvisation/chamber jazz amalgamations that MOPDtK typically work with. That is not to say that these pieces are in any way staid or formulaic; each retains that undefinable MOPDtK stamp of idiosyncrasy.

"Hi-Nella" would be at home as the soundtrack for a Max Sennett movie despite a late song solo improvisation from Bernstein. "Honey Hole," Mason and Dixon" and "Meridian" show Elliott's remarkable ability to capture the feel of the period while "Glen Riddle" has an infectious big-band swing that culminates in some brief free-form wailing. "Kilgore" and "Five (Corners, Points, Forks)"while not abandoning the conceptare a bit more free-wheeling in approach.

Loafer's Hollow puts a fresh spin on period music, not just by infusing it with free improvisations but by developing distinct characteristics within the piece-to-piece variations. The larger ensemble adds a fullness to the sound and Seabrook's banjo brings an occasional touch of Americana. The titles areas per usualnames of Pennsylvania towns and five of the pieces are dedicated to authors Kurt Vonnegut, Thomas Pynchon, James Joyce, Cormac McCarthy and David Foster Wallace. This may be MOPDtK's most accessible album but that shouldn't be a deterrent to those who like this band on the quirkier side. There remains quirkiness to spare.

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.